Evangelion: Incursion
by Yossarian1
Summary: In a world at war, the deadliest enemy is the one with nothing to lose.
1. Hymn to the Fallen, The Eastern Front

Disclaimer: 

I, unfortunately, don't own NGE or any of its characters. I also do not profess to being anything resembling a political analyst, so if the following depiction of events in Europe and the world at large sounds outrageous, if not impossible, that's because it probably is. I also do not mean to offend any persons living in or hailing from the nations involved in this fictional dispute or to portray any particular countries in an unfavorable light. There are no "good guys" or "bad guys" in war…just casualties.  

"The only problem with dreaming is that, eventually, one has to have to wake up." – Anonymous

Music: "a warm place" – Nine Inch Nails

EXT. GRAVEYARD. DAY.

Overcast and rainy. A lone figure walks down a narrow pathway winding through a cemetery, his dark trench coat the only concession he makes to the downpour around him. 

Beside the path are rows upon rows of small white crosses, some adorned with small medals and plaques; obviously a military burial ground. His head down, the man walks on, unhurried.

Looking up, he finds himself in a fenced-in area bordered by trees, the branches overhanging the clearing and creating a natural archway.

In front of him are more crosses, every other one adorned with small flags of various nations and some with small personal items or flowers. He moves to the nearest one, crouching and resting his hand upon the marble.

We see his face clearly for the first time and realize he's rather young; somewhere around his early twenties. Short, silver-gray hair hangs wetly from his head, strands of it leading to his eyes: a dulled crimson that contrasts with his noticeably pale skin. Despite his age, his eyes tell of many hardships and show a weariness more commonly found in one twice as old as he.

For a moment, all he can do is look at the field of graves before him. At length, he addresses them.

**Kaworu****:**

I…wasn't sure how I'd feel coming back here… or if this was even the right thing to do. But I felt I should at least stop here one last time before I go… just to let you know what's going to happen. 

(He pauses before continuing)

We've voted…the others and I…and…we've reached the conclusion that this is the only way. I wish to God it wasn't. I've tried to get them to see reason. You all know I've tried. But they still refuse to listen… Most of you I never even knew and the ones that I did…well, right about now, you're probably wishing you'd never met me. I just… I needed to say that I'm sorry. Sorry for leading you down the path I chose. Sorry for letting them use you… use all of us, for that matter, without question. They fed you lies and I encouraged those same false promises…

Kaworu looks to the uncaring, slate-gray sky, as though searching for the right words to say.

**Kaworu****:**

…But that's going to change. After this…everything is going to change. Consider this atonement for the lives ruined by my hand, including yours. I don't expect you to agree with or even condone what's going to happen. I only ask that in the end, you can forgive me.

The sound of footsteps behind him stirs Kaworu from his reverie. He looks over his shoulder to find a young woman similarly dressed as him approaching, carrying an umbrella.

Kaworu manages a tired smile, feigning annoyance.

**Kaworu****:**

I thought I told you to wait in the car.

She walks up beside him, returning the smile and holding the umbrella to shelter both of them from the rain. She has dark brown, wavy hair that falls to her shoulders, a slender build and youthful features that show her to be about Kaworu's age. Like him, her azure eyes show more years of experience than her appearance would lead most to believe.  

**Elsa:**

You look like you could use some company.

Kaworu turns back to face the graves.

**Kaworu****:**

I have company. They're just not as talkative as they once were.

The two of them stare silently at the graves that pour from the ground in front of them, extending more than the length of a football field. Elsa puts her hand upon Kaworu's shoulder. He reaches up to cover it with his own, squeezing gently.

**Kaworu****:**

There's too many to count anymore… How can we possibly be wrong in doing this?

**Elsa:**

Simple - we're not. 

He manages a sad smile and stands, taking a final look at the graves.

**Kaworu****:**

Let's begin.

They turn and walk back up the path, not looking back.

As they leave, we see a close-up of one of the graves in the front row. It reads:

PILOT NAOTA NAGISA

4/6/06 – 5/15/20

WARSAW OFFENSIVE

TWENTY MILES WEST OF KIEV

Fade to black

Fade up on sequence of images, inter-cut with titles:

HOLLYWOOD PICTURES PRESENTS

Photos of Tokyo-3 and the inside of Nerv. Seele's invasion. UN troops overseeing the capture of the facility.

**Narrator (v.o):**

In twenty-fourteen, Nerv's third branch is overtaken by outside forces via hacking of the three Magi super-computers. With their defenses rendered useless, Seele's forces attack Nerv using their organization's full military assets. Seeing the destruction taking place, the UN is fortunately able to halt the invasion before casualties rise too high and assume command of Nerv…

Newspaper headlines: TURMOIL IN JAPAN: UN SIEZES THIRD BRANCH OF NERV / TOKYO 3 FACILITY GUILTY OF CLANDESTINE ACTIVITY

**Narrator (v.o):**

…With the decommissioning of the facility, all personnel are reassigned while the installation itself is placed under joint custody of the Japanese government and the UN; neither of whom seem to know what to do with it.

A DON SIMPSON / JERRY BRUCKHEIMER PRODUCTION

"Focus" Magazine cover: Sketches of an Eva unit with the words, "The Next Arms Race".

**Narrator (v.o): **

Amidst the turmoil of relocating Nerv personnel, Evangelion technology disseminates throughout the world. Within the next year, France, England, and Russia begin their own Evangelion programs…

Video: A fancy celebration. As we watch, several beaming scientists unveil a large red object bearing a resemblance to an Angel's core.

**Narrator (v.o):**

…Twenty-sixteen also sees the perfection of the S2 engine which, when coupled with a piloted entry plug system, proves more combat effective and cost efficient than Japan's own Mass Production models; formerly held as the benchmark of Eva technology until now. By twenty-seventeen, most world powers have reduced their standing armies to garrison size, making Eva squadrons the backbone of their armed forces.   A FILM DIRECTED BY MICHAEL BAY 

"Newsweek" magazine cover: "Russia and NATO: Should we be worried?"

**Narrator (v.o):**

During this time, tensions run high in Eastern Europe as Lithuania, Ukraine, and Belarus prepare to become member countries of NATO. Russia disagrees with this development, instead urging the members-to-be to refrain from entering into an allegiance with the western powers and consider one with it instead. NATO tries to dissuade Russia from any actions that could be potentially damaging to European relations. Russia, in turn, respectfully advises NATO to mind its own business…

SHINJI IKARI

Newspaper headlines: FAILED ASSASINATION BREEDS FEAR, MISTRUST IN BALTIC COUNTRIES / THE BALTIC ALLIANCE: RUSSIA RESPONDS.

**Narrator (v.o):**

…Representatives from the countries involved in this dispute meet to smooth out a potentially volatile situation in the making. Yet, the conference is disrupted as a failed assassination attempt is brought to light with the arrest of several individuals planning to bomb the building and the assembled world leaders therein. While the men responsible are Russian loyalists, the fact that they all hail from nearby NATO-member countries sets the three prospective members at odds with NATO. Afterwards, Russia is successful in establishing a political and military treaty between itself, Lithuania, Ukraine, and Belarus, forming The Baltic Alliance and establishing a "unified eastern front."

REI AYANAMI

Newspaper headlines: ALLIANCE GAINS GROUND AS OTHERS JOIN / HUNGARY TO ALLIANCE: "WE WILL NOT BE INTIMIDATED".

**Narrator (v.o):**

The Alliance concentrates troops near its borders, unnerving nearby countries that understandably see it as a prelude to war. Latvia and Estonia join the Alliance, fearful of possible invasion. This tactic of recruiting nations through fear helps them assimilate Moldovia as well, stretching the Alliance's common borders further west. Shortly thereafter, Hungary is approached with and rejects an offer by the Alliance to join its ranks, ignoring the sudden clustering of Ukrainian troops along its borders…

ASUKA L. SOHRYU

Newspaper headline: UKRAINE INVADES HUNGARY

 **Narrator (v.o):**

…A tenuous truce between Hungary and the Alliance is maintained for a short time until, following the addition of Romania to the Alliance, Ukraine begins to see Hungary as the first step in pushing their territory west. Without the approval of any other member nations, Ukraine invades their neighbor to the west in a surprise assault that lets them take the capital of Budapest in short order. In one of the worst political blunders since World War I, Ukraine either fails to take into account, or just outright ignores the fact that Hungary is a member of NATO. It isn't long before NATO forces move in to liberate Hungary while Polish forces move east to invade Ukraine…

KAWORU NAGISA

Newspaper headline: NATO RETALIATES / CASUALTIES RISE ON EASTERN FRONT

Video: A static-lined relay from a news camera. Two Evas are fighting. One of them brandishes a two-handed sword that it swings in a wide arc as it charges the other. Its opponent ducks the attack and grabs the other's weapon; the two of them grappling and the camera shaking from the movement. They both fall to the ground, still wrestling, and roll towards the camera, churning up clouds of debris in their wake. The camera's POV jars as the operator drops it to the ground. We see several pairs of feet running by as the camera cuts to snow.

**Narrator (v.o):**

…It is just seven miles within the Ukrainian border that the future of combat is seen. Evas from the Poland-based NATO guard engage those of the 2nd Russian Mechanized Infantry, resulting in some of most devastating combat the world has yet seen as dozens of towns and even more miles of woodland are destroyed outright in less than a few hours. By the end of twenty-nineteen, NATO and Baltic Alliance forces are fighting along a combat front stretching from the Gulf of Finland to the Aegean Sea. As the armies of the West clash with those of the East and the industries of the world revel in the profits of war, the body count climbs ever higher day by day, with no end in sight…

Cut to black.

**Narrator (v.o):**

It is the second year of the war.

EVANGELION: INCURSION

Fade up on:

EXT. TOWN. DAY.

The sky overhead is an ominous slate gray, making it hard to discern between afternoon and morning, as everything touched by the sparse light from above appears in dull hues of normally vibrant colors. A deserted street lined with empty cars stretches before us. The buildings on each side show signs of wear and tear from bomb blasts and shelling as some are missing entire sections of walls, their blackened interiors visible through gaping holes in the façade.

Churned by a stir of wind, bits of newspaper flutter from an overturned vendor's booth riddled with bullets, smoke wafts out a window from a small fire in one of the ruined shops, and an open door creaks on its hinges. 

The silence is broken by the sound of footsteps approaching from off-camera. They grow nearer; stopping suddenly as a cigarette butt is dropped into frame from above and then extinguished by a boot stepping on it.

In panning up from the ground, we see a figure dressed in combat fatigues of a woodland motif (dark green and black on olive drab). We watch as the soldier moves forward, stepping lightly over the debris strewn across the road and crouching behind the back end of what used to be a Lada town car.

After taking a look down the street and seeing nothing but desolation, she turns toward the camera, motioning for someone else to follow. The girl looks no more than twenty, yet her crimson eyes appear determined and focused in their gaze. Her rather delicate features are accentuated by the tone of her skin; so white that it resembles porcelain. Though she wears a green beret, we cannot help but also notice her short, lavender-blue hair falling in wisps across her face.

She unslings the sniper rifle she carries (a procured Russian Druganov) as another soldier joins her behind the makeshift cover. From his chevrons he appears to be an officer, though the boy looks, at the most, only a few years older than her.

**Commander:**

(In Polish)

What you got for me, Ayanami? 

The girl motions him closer to where she's crouched and directs his view to the buildings near the intersection up ahead.

**Rei****:**

The building at the end that looks like a bank. See it?

He looks towards where she's pointing, noticing a three-story structure with large wooden doors and gothic architecture up ahead. In front of it is a circular plaza where three streets meet. A small fountain filled with dark, stagnant water sits at the center.

**Commander:**

What about it?

**Rei****:**

Why board up all the windows except on the third floor?

The Commander looks again, noticing that, while each of the first and second floors' windows are shoddily covered with several boards, the third floor's remain unobstructed; hanging open.

**Rei****:**

They're getting careless…

**Commander:**

You think someone's up there?

**Rei****:**

That's where I'd be.

**Commander:**

I still don't see anything, though.

**Rei****:**

Well, sir, that's kind of the point.

He pauses, thinking.

**Commander:**

Alright, stay here. I'm gonna send Basia over.

**Rei****:**

Understood.

The Commander moves out from behind the car and runs to the opposite side of the street, where we see three other soldiers similarly dressed as him (two boys with AK-47's and a girl with an SWD sniper rifle). He crouches next to them.

**Kopernik****:**

You have some targets for us, sir?

**Commander:**

Change of plans. We've got Ivans in the bank up ahead. 

(Indicating the girl)

Basia, I'm pairing you off with Ayanami. Head over to her position and put some covering fire on those upper floors.

(Pointing to the two boys)

You two smartasses come with me. We'll try and take the rear of the place.

**Milosz****:**

You always did like entering from the rear.

**Commander:**

Milosz, shut the hell up.

Leaving the three behind, Basia runs across the street to where Rei is still crouched. She joins her behind the wrecked car.

**Basia****:**

(Grinning)

Commander sent me over. He thought you might be getting lonely without him.

**Rei****:**

(Deadpan)

Oh yes, the strain was almost too much to bear. What are we doing now?

**Basia****:**

They're going to enter from the back. We need to find a better position if we're to cover them, though.

**Rei****:**

One of those shops across from it should work.

**Basia****:**

Any plans for getting there?

**Rei****:**

By foot, of course.

Rei's face remains neutral. Basia looks momentarily perplexed, then rubs her eyes, groaning as the joke drives home. Rei smirks.

**Rei****:**

You had to ask.

**Basia****:**

You're a pip, you know that?

Rei points to two buses at the end of the line of empty cars, obstructing the intersection in front of the bank.

**Rei****:**

Enough cover for you?

**Basia****:**

It'll do.

**Rei****:**

Follow my lead.

The two snipers move out from behind their cover, crossing the street. 

Suddenly, the bank's third floor widows come alive with points of light as the Russians inside open up on the other three Polish troops. 

Milosz and the Commander duck to the left, taking cover behind a low brick wall bordering a coffee bar's outdoor terrace. Kopernik runs forward, diving behind the fountain. Rei and Basia run to their left as well, reaching the nearest bus as tracer fire tears up the ground in front of them.

CUT TO:

INT. BANK – THIRD FLOOR OFFICE.

From the bank's third floor, a Russian KPV heavy machinegun roars to life as its rounds tear into the brick wall of the coffee bar, chipping away at the Polish soldiers' cover in a cloud of dust and debris.

CUT TO:

EXT. STREET – COFFEE BAR.

Milosz and the Commander lie prone; shielding themselves as the 14.5mm monstrosity demonstrates why it's still in use more than seventy years after its inception.

**Commander:**

CAN YOU SEE THEM?

**Milosz****:**

WHAT?

**Commander:**

DO YOU HAVE A SHOT?

**Milosz****:**

FUCKING NO, I DON'T HAVE A SHOT! YOU WANT TO STICK YOUR HEAD OUT THERE, BE MY GUEST!

Hidden behind the left side of the first bus, Rei peeks around to see Milosz and the Commander pinned down, but is unable to get a better view of the machinegun's position.

**Rei****:**

Dead space to my right, I don't have a shot! 

Basia moves to the door of the bus and forces it open with her rifle butt. She turns to Rei.

**Basia****:**

Follow me and stay low.

They both enter the bus.

EXT. STREET – FOUNTAIN.

At the plaza's center, Kopernik eases his way around the side of the fountain, watching as the Commander and Milosz take shelter. Seeing that he's unnoticed by the gunners, Kopernik sits up and peeks over the fountain's edge to gauge the distance to the bank's doors. 

From the third floor, a brief muzzle flash is followed by the ting of a sniper's bullet hitting the lip of the fountain mere millimeters from Kopernik's face. The boy quickly drops back down, cursing.

CUT TO:

INT. BANK – THIRD FLOOR OFFICE.

The KPV ceases its barrage. The gunner and loader scramble to change belts as the gun clicks dry.

CUT TO:

EXT. STREET – COFFEE BAR.

Seeing this, the Commander and Milosz emerge from cover and open fire, aiming for the third floor windows.

**Commander:**

Covering fire!

CUT TO:

INT. BANK – THIRD FLOOR OFFICE.

The Russians duck to avoid the retaliatory fire from their targets. One of them crawls towards the door frame, calling for assistance from down the hall.

CUT TO:

INT. BUS.

Rei creeps down the center aisle, stopping at the front. She braces herself against the driver's seat, bringing her rifle to bear on the machinegun's position through the front windshield. Basia crouches beside her, setting down her rifle and unholstering her sidearm. 

CUT TO:

EXT. STREET – COFFEE BAR.

Milosz stops shooting long enough to shout to Kopernik across the way.

**Milosz****:**

Jozef! Move your ass!

EXT. STREET – FOUNTAIN.

Kopernik hesitates, glancing for any signs of movement from the bank's upper floors. With a muttered prayer, he launches himself out from the safety of the fountain, sprinting across open ground towards an alley on the bank's left.

CUT TO:

INT. BUS.

Basia fires several rounds into the window; the glass cracking spider-web style. Without pause, she delivers a solid kick to the center of the already weakened windshield, causing it to fold and fall out of the frame in one piece.

Her aim no longer obstructed by the glass, Rei keeps her rifle trained on the third floor window, exhaling calmly as she flicks off the safety.

CUT TO:

INT. BANK – THIRD FLOOR OFFICE.

Another Russian soldier enters the room where the gun crew crouches, carrying a sniper rifle and shouting at them to move out of the way. He reaches the window, drawing a bead on Kopernik as he runs for cover. With his target's head in the crosshairs, he squeezes the trigger-

The rifle report that follows is obviously not his own. The Russian's head snaps back in a spray of red with a sizeable hole in his forehead.

CUT TO:

INT. BUS.

Through her scope, Rei watches the Russian collapse; his final shot going wild. Confused as to the previous bullet's origin, one of the two soldiers starts firing at Milosz and the commander's position, taking care to keep out of their line of sight. 

Non-plused, Rei chambers another round and sights her next target. The rifle kicks against her shoulder as, through her scope, she sees the shot strike home. The soldier reels back, coughing blood and clutching his chest.

CUT TO:

EXT. STREET – COFFEE BAR.

Lying prone, the Commander listens as the sounds of gunfire from the bank are silenced by Rei's last shot. 

He pauses, listening for return fire. After several tense moments, he peeks over the edge of the wall to see Kopernik crouching against the bank's front. Kopernik signals "all clear".

**Commander:**

About goddamn time…Milosz, move to his position!

(Shouting towards the bus)

Rei! Basia! Move up!

INT. BUS.

**Rei****:**

Cover me.

Rei climbs out through the windowframe. Basia moves to cover her advance, readying her own rifle.

EXT. STREET.

Milosz hops over the wall, moving towards the bank-

-as a second machine gun, two windows over on the right, opens fire. A hail of bullets peppers the ground near Milosz, the line of fire walking towards him faster than he can react. Several rounds tear into his side, sending his riddled body flailing to the ground.

Rei breaks into a dead run, sprinting towards Kopernik as the trail of bullets turns her way.

CUT TO:

INT. BUS.

Basia moves to assist, taking aim at the new target.

Without warning, the original machinegun opens up, concentrating on her position. Bullets ricochet off the front of the bus and its exposed interior, shattering the remaining windows and sending Basia diving for cover behind the dashboard.

CUT TO:

EXT. STREET – COFFEE BAR.

After a moment of deliberation, the Commander sits up into a crouch, shouting towards the bus:

**Commander:**

Basia! Surpressive fire on the left!

With that, he launches himself over the wall, firing at the second machinegun while running. His shots strike within the general vicinity of Rei's attacker in the rightmost window. While not hitting anything, the Commander's volley achieves the desired effect of making the gunner take cover, allowing Rei to reach the steps of the bank safely.

The left machinegunner ceases his assault on the bus; swinging the gun to bear on the Commander as he runs towards Basia's position. Seeing this, Basia uses the machinegunner's momentary distraction to grab her rifle and take aim at him.

CUT TO:

INT. BANK – THIRD FLOOR OFFICE.

The loader from before mans the machinegun. Below, the Commander dives for cover behind the bus, losing his beret as he rolls out of the gun's field of fire. 

The loader curses loudly as, simultaneously, his target escapes and his machinegun clicks dry. Moving to reload, his eye catches a flicker of motion inside the bus… 

CUT TO:

POV SHOT – RUSSIAN SOLDIER.

…He pauses, looking up to see a point of light flare briefly in the bus's front. The loader has just enough time to recognize it as a muzzle flash before the screen goes dark with the accompanying "thwap" of a round striking home.

CUT TO BLACK.

CUT TO:

INT. BUS.

Basia chambers another round, swinging her rifle to the remaining machinegun on the right, the operator of which has resumed firing, this time aiming for her. Basia dives for cover again as bullets pound the frame of the bus. 

She crawls down the alley towards the exit door at the center. Reaching it, she kicks the door open to see the Commander crouched right outside.

**Commander:**

Nice shot, Basia.

**Basia****:**

Just doing my job, sir. What about the other one?

**Commander:**

No worries, corporal, I think Mr. Kopernik and Ms. Ayanami have it well in hand.

As if to underscore the Commander's words, a series of explosions echoes from the bank on the far side of the bus. The machinegun's chatter ceases. After a period of silence, Rei's voice is heard calling from afar.

**Rei**** (VO):**

Clear down!

The Commander gets up, motioning for Basia to follow.

**Commander:**

Come on.

EXT. STREET – CONTINUOUS.

They move out from behind the bus, crossing the plaza to where Rei and Kopernik are. 

EXT. BANK – FRONT – CONTINUOUS.

As they approach, Kopernik fixes a rifle grenade to the end of his AK, launching it in an arc through the window where the machinegun formerly resided. The grenade explodes with a sharp bang, echoing across the plaza and sending a cloud of debris billowing out.

**Rei****:**

Stop it.

Kopernik says nothing; his hands reaching for another grenade on his belt.

**Rei****:**

Kopernik…

He says nothing.

**Rei****:**

Kopernik!

The rifle grenade slips out of his grasp. He fumbles for it with his shaking hand as it falls to the ground. Cursing, he turns to Rei.

**Kopernik****:**

WHAT!?!

**Rei****:**

You're wasting ordinance.

Kopernik looks ready to hit something; namely, the girl standing in front of him. The Commander steps forward to intervene.

**Commander:**

Talk to me, Private.

Kopernik looks from the Commander to the window and back again, shaking.

**Kopernik****:**

That piece of shit killed Jacek…sir.

**Commander:**

(Sighs)

I know. But that doesn't mean we should expend most of our demolitions materiel on one gun emplacement.

Kopernik tries to look over the Commander's shoulder to where Milosz's body lies.

**Kopernik****:**

Fucking Ivans didn't even give him a chance…

The Commander grabs Kopernik by the shoulder, looking him in the eyes.

**Commander:**

Listen to me! I'm sorry about Milosz, but this stuff happens. You've seen it before. Now do you want to stay out here shooting rounds at a dead body or do you want to get even with the rest of those sons of bitches in there?

Kopernik settles down, somewhat, coming to his senses.

**Kopernik****:**

Sir, I'd very much like to get even with those sons of bitches in there.

**Commander:**

Alright then, follow me. 

(Turning to the others)

Ayanami, Basia, it's time to clean house.

  **Rei**** & Basia:**

Yes sir.

The group moves back towards the alley on the bank's left side, disappearing down it.

INT. BANK – MAIN LOBBY.

A door on the left wall flies open and the trio emerges into the spacious front lobby. A large oak desk sits in the center, surrounded by benches and chairs, most of which have been put to use in barricading the front door. The ceiling extends up through the first two floors, a balcony on each level bordering the room and looking down on the lobby below.

**Commander:**

You two hold this area for now. Ayanami, cover me.

Kopernik and Basia keep a watch on the balcony for movement while Rei and the Commander move towards the back. Finding a door marked "STAIRS", they enter it.

INT. BANK – STAIRWELL.

Rei and the Commander move up to the third floor, clearing as they go.

INT. BANK. THIRD FLOOR.

The two of them emerge from the third floor stairwell into a plush hallway connecting several offices. The office doors hang open, some riddled with bullets. Shell casings litter the floor along with dirty bootprints. The Russian army has been using this place for quite some time.

They move down the hallway, glass crunching underfoot. Halfway down, the Commander signals Rei to halt. In the silence, the sounds of static and a voice whispering can be discerned coming from the end of the hall. Rei signals that she hears it too. 

As quietly as they can, the two of them move down the hall, the noise becoming clearer as they stop outside a door left ajar. From inside, a voice talks quickly and fiercely in Russian. 

INT. BANK – THIRD FLOOR – OFFICE – CONTINUOUS.

The Commander covers Rei as she eases the door open. Rei trains her weapon on the first target that comes into view (and the only one in the room, for that matter). Oblivious to their presence, a radio operator sits with his back to them, headphones covering his ears as he speaks into a microphone. Rei moves forward, drawing her pistol.

Without looking, the radioman reaches towards a table on his right covered in dog-eared maps, his fumbling hands obviously searching for a spiral-bound notebook labeled "Target Listing", in Russian, that lies just out of his reach. 

Rei picks up the notebook and hands it to him. Still talking, the radioman grabs it and begins flipping through pages. There's a beat before he freezes in place; the realization dawning on him that you're no longer alone in a room if people are handing you things. He spins around in his chair to find two high-powered firearms trained on his head.

**Rei****:**

Sir, I believe we have a prisoner.

**Commander:**

No – just a corpse.

The Commander fires a short burst at the radioman, knocking him and the chair over backwards, blood flecking onto the equipment and documents behind him. Rei turns to face her superior; disbelieving of what just happened.

**Rei****:**

He was unarmed– 

**Commander:**

He was a Russian soldier. Remember? The people we're at war with?

**Rei****:**

We could have at least grilled him for intel…

**Commander:**

I believe the point is moot.

With that, he steps by her, picking through the bloodstained documents on the table.

**Commander:**

Why don't you make useful and start packing up those maps? Intelligence might be interested in them.

Rei glares at the Commander, her eyes boring holes in the back of his head. He chooses to ignore her. After a moment, she moves to the table and begins shoving crumpled papers into any available pockets.

INT. BANK – LOBBY.

Basia sits on the front desk, pulling out a pack of smokes. Kopernik paces by the windows, keeping a wary eye towards the streets.

**Kopernik****:**

They've been gone awhile.

**Basia****:**

(Distractedly)

Hm.

Basia lights up, she sees an old newspaper lying next to her and starts flipping through it.****

**Kopernik****:**

Wonder what's keeping them?

**Basia****:**

Hm.

**Kopernik****:**

Anything interesting in there?

**Basia****:**

Hm.

**Kopernik****:**

You listening to me?

**Basia****:**

Hm.

**Kopernik****:**

Wow, look at all the Russians outside.

**Basia****:**

Hm.

**Kopernik****:**

Mind if I have the last of your smokes?

**Basia****:**

Piss off.

**Kopernik****:**

Gasp! She does have ears!

**Basia****:**

Listen to this:

(Reading from the paper)

"…There are those amongst you who would oppose the use of such powerful machinations on the grounds that they are 'untested' and 'unproven'. Under any other circumstances, I would agree. Yet, in our darkest hour, I say that we should not concern ourselves with the unconfirmed and the unsubstantiated. Rather, we should look to these 'Evas' as our saving grace; as our means of deliverance from the capitalistic hordes of the west and their belligerent armies. To meet them on even ground would be as powerful a statement as any that words could evoke..."

…That was Premier Vasilov addressing the Politburo two weeks before Hungary was invaded. Only two years ago…

**Kopernik****:**

You just know Vasilov ordered it. I mean, the guy was too much of a control freak to let Ukraine go out on their own like that. 

(Thinking)

Two years ago…I was planning to move to Legnica after I graduated and help my brother run his business.

**Basia****:**

(Thinking)

Two years ago…my brother was still alive.

**Kopernik****:**

Two years ago, Milosz was still alive.

They sit for a moment, silent.

**Basia****:**

We're doing the right thing, aren't we? After all, they attacked US. How can we be in the wrong?

**Kopernik****:**

We're not.

INT. BANK – THIRD FLOOR – OFFICE.

After looting the room of anything vital, the Commander steps out the door, motioning for Rei to follow. 

Rei turns and grabs the codebook off the table. In doing so, she pauses; hearing a voice coming from the radio's headphones.

The Commander comes back into the room as Rei puts the headphones on, listening.

**Commander:**

What is it?

**Rei****:**

I don't know exactly, they're talking really fast. You know any Russian?

**Commander:**

A little.

The Commander walks over to the table, pulling out the headphone cord and letting the voice spill out into the room from the speaker. 

CUT TO:

INT. BANK – LOBBY.

Kopernik and Basia sit, waiting. Kopernik slowly gets up, walking to the window.

**Kopernik****:**

Do you hear that?

**Basia****:**

Hear what?

CUT TO:

INT. BANK – THIRD FLOOR – OFFICE.

The Commander listens to the last part of the message before it ceases; white noise following in its wake.

**Commander:**

(Translating)

"…ETA…ten minutes." 

(To Rei)

What'd they say before that?

**Rei****:**

Uh…. Something like, "div-eez-oosh-chi-yee…kvash podo…zen-e-ye?"

**Commander:**

"K" and "Vash" are separate; they mean: "to your." "Dvizhushchiy" means "moving" and "Podozhenye" is "location".

**Rei****:**

"…moving to your location. ETA: ten minutes."

They both exchange wary glances.

**Commander:**

(Apprehensively)

Anything else?

CUT TO:

EXT. BANK – FRONT.

Kopernik squeezes through the front door, dislodging some of the chairs used to barricade it. He descends the front steps halfway, scanning the streets.

Basia steps out the door a moment later.

**Basia****:**

Come back inside.

**Kopernik****:**

You don't hear that?

**Basia****:**

Obviously not. What are you hearing?

**Kopernik****:**

Listen.

As they both go silent, we can discern a low vibration on the air; a slight rumble growing in intensity.

CUT TO:

INT. BANK – THIRD FLOOR – OFFICE.

**Rei****:**

Um…there was one word before all that which caught my attention.

**Commander:**

What?

CUT TO:

EXT. BANK – FRONT.

Kopernik walks down a few more steps, looking down the street branching off to the bank's left. The rumble is now faintly mingled with what sounds like the squeaking of gears.

CUT TO:

INT. BANK – THIRD FLOOR – OFFICE.

**Rei****:**

Sir, please tell me "Pantcir" doesn't mean the same thing it does in Polish.

CUT TO:

EXT. BANK – FRONT.

Kopernik's eyes go wide as a Russian T-90S tank – bristling with more mounted weapons than any vehicle should rightfully have – rumbles into view; emerging from a side street not too far down from the bank.

**Basia****:**

You've gotta be kidding…

**Kopernik****:**

Get back inside! MOVE!

Kopernik clambers back up the steps, stumbling through the door after Basia.

CUT TO:

INT. BANK – THIRD FLOOR – STAIRWELL.

The Commander and Rei race down the stairs, taking them two or three at a time.

INT. BANK – LOBBY – CONTINUOUS.

They emerge from the stairwell door as Kopernik and Basia come in from outside. 

Basia quickly tries to restack the nearby chairs into the barricade they once formed as Kopernik runs to meet the Commander.

**Commander:**

Corporal!

**Kopernik****:**

Commander!

They meet each other halfway.

**Kopernik**** & Commander:**

We've got trouble!

(They pause, confused.)

What?!

The Commander shushes him before he can continue.

**Commander:**

We've got less than ten minutes before armored re-enforcements show up! Grab your gear and let's get out of here!

**Kopernik****:**

In that case, sir, might I advise exiting through the back?

Basia sprints by, not slowing down.

**Commander:**

What's wrong with the front?

In response to his query, the sharp boom of a cannon from outside is followed shortly thereafter by a deafening noise as the front wall of the bank explodes inward in a cloud of dust and mortar, the force of which knocks both solders to the ground.

The Commander and Kopernik scramble to their feet, coughing, as they race towards the back where Basia and Rei are already headed.

**Commander:**

This has NOT been ten minutes!

**Rei****:**

Tell that to them.

CUT TO:

EXT. BANK – PARKING LOT.

The Commander, Basia, Kopernik, and Rei emerge from the back door of the bank and into a deserted parking lot. 

As they cross the tarmac, a group of Russians emerge from a line of shrubs running the length of the lot's left side. Kopernik fires while running, as bullets pick at the ground around them. They reach the opposite end, vaulting over a low wall and emerging onto an adjacent street.

EXT. STREET – CONTINUOUS.

Rei glances to her left, where the street gradually slopes uphill. At the top, Rei sees several figures moving towards them. Some drop to their knees and take aim, the echoing gunfire spurring Rei to action as much as the Commander's voice.

**Commander:**

Keep moving! Head for the alleyway!

He gestures toward an offshoot between two buildings on the right. They follow his lead as Basia and Kopernik fire at the approaching Russian troops.

EXT. STREET. ALLEYWAY – CONTINUOUS.

The Commander stops at the entrance, providing covering fire as the others race past him and down the alleyway. They stumble over trash and debris, clawing at the walls on either side for stability and momentum.

EXT. STREET.

From the alleyway, they emerge in front of what used to be a hotel, its four story front now collapsed and torn open by a previous explosion, the wreckage clogging the street in front of it. The burnt hulk of a Hind–D gunship lies twisted and smoking in the road as well, blocking any passage to the left.

Koperik pauses to reload. The Commander climbs onto a nearby block of rubble, looking down the street. Rei and Basia follow his gaze.

**Kopernik****:**

Sir, if we stick to the back alleys we might be able to loop around them.

The Commander jumps down, running past him and towards the hotel.

**Commander:**

No, we won't.

**Kopernik****:**

Sir?

Rei and Basia watch as, in the distance, a Russian BMP and several groups of infantry come into view. Rei remains motionless, her frightened gaze fixated on the encroaching enemy.

**Basia****:**

Shit… Ayanami, come on !

Basia grabs Kopernik as she runs towards the hotel as well. Rei snaps out of it, stumbling after the others.

EXT. HOTEL – CONTINUOUS.

The three take shelter with the Commander behind several large blocks of rubble. Basia begins picking off soldiers with her rifle as Rei joins in, going prone alongside her.

Kopernik opens fire as well, aiming for the foremost soldiers. He looks over to the Commander, slowly and methodically reloading his AK, his face devoid of expression.

**Kopernik****:**

Don't look so down, sir. Today wasn't a total bust…

The Commander makes no reply

**Kopernik****:**

Hey, at least we'll have something to tell the grandkids.

A burst of gunfire stops his attempts at small talk. Kopernik turns to see a group of soldiers swarming from the alleyway he and the others just came from. They take cover where they can as Rei returns fire.

**Basia****:**

Commander! More targets across the street! I need support!

**Commander:**

(To Kopernik)

What does your brother do?

**Kopernik****:**

(Momentarily thrown)

Sir?

**Commander:**

You told me once that your brother ran a store. You never said what, exactly.

The Commander remains calm, looking at Kopernik for an answer. Kopernik cringes involuntarily as bullets whiz above his head.

**Kopernik****:**

Uh…um…He runs a plastics plant. They make injection molds for industries and stuff.

 **Commander:**

Plastics…that's good.

Rei drops a soldier with her last shot. She discards the rifle and grabs her sidearm, unloading it at the troops coming from the alleyway.

**Basia****:**

Commander!

Down the street, the BMP halts, bringing its cannon to bear on their position. With a bellow, the gun fires, blowing apart more of the hotel behind them in an explosion of debris and smoke. 

The Commander smiles half-heartedly at Kopernik as he gets up, moving next to Basia and Rei as they return fire through the smoke.

Bodies line the street, making progress somewhat slower for the Russians as they try to move the wounded to safety. Nevertheless, they still advance. The BMP rumbling forward like some armored beast of war, closing in on the Polish troops' position. 

With the enemy so close, Basia has ditched her rifle in exchange for her sidearm, opting for something with a faster firing rate. Kopernik is the only one still using his AK. 

Rei pulls the last clip from her belt and reloads. She watches as the Commander drops his AK and begins firing with his own pistol. He catches her worried gaze and stares back with equally frightened eyes. Finding no answers or orders to give, he can only whisper:

**Commander:**

(Softly)

I'm sorry.

**Basia****:**

GET DOWN!

Rei jerks her head up in time to see the BMP's cannon flash and roar again as Basia dives on top of her, pulling her to the ground.

The ground to her left explodes in a deafening boom. Dirt and clumps of pavement rain down as Rei looks behind her, seeing the Commander lying against a chunk of concrete, holding his head as blood trickles from his ear.

**Rei****:**

(Coughing)

Commander…!

Basia crawls to a sitting position, hefting Kopernik's discarded AK…still gripped by its previous owner's right hand. She hesitates momentarily before pulling the grotesque souvenir free and tossing it beside her. It lands next to Rei.

FREEZE PICTURE.

Rei stares at the disembodied hand.

CUT TO:

FLASHBACK – INT. BARRACKS. NIGHT.

NO SOUND - Kopernik and Milosz arm wrestle as several others, including Rei, watch and cheer. Milosz slams Kopernik's hand on the table, winning. He gets up and does a goofy victory dance. Kopernik laughs and rubs his hand as though mortally wounded.

CUT TO:

EXT. HOTEL – RESUMING.

Rei breathes shallowly, forcing herself to look away from the appendage beside her. She crawls to where the Commander lies, carrying him by the shoulders to the rubble where Basia is crouched.

**Basia****:**

How is he?

**Rei****:**

I don't know, he's bleeding pretty bad. He might have a concussion.

**Commander:**

(Slurred)

Oh, I-I'm fine…I just got the wind knocked out of me is all.

Unsure of what to do, Rei holds the Commander, wiping away the blood trail while cradling his head. Basia drops the now empty AK, grabbing her pistol again. Her eyes meet Rei's, who looks at her hopelessly. In spite of the situation at hand…

FREEZE PICTURE.

…Basia smiles reassuringly at Rei.

CUT TO:

FLASHBACK – EXT. TRAIN STATION. DAY.

NO SOUND – Rei and Basia are waiting at the platform. A young man steps off the train, waving to them. Basia runs forward and jumps into his arms, hugging him and laughing with joy; obviously her boyfriend. She smiles, talking excitedly.

CUT TO: EXT. HOTEL – RESUMING.

Part of Basia's head is torn away in a mist of blood along with a portion of the rubble wall in front of her as the BMP's machinegun opens fire.

Rei ducks her head as much to avoid the bullets as to avoid seeing her friend's twitching remains.

**Rei****:**

Commander…what do we do…? Commander…?

The Commander makes no response. His bleeding has stopped. His eyes stare blankly ahead.

Rei bites her lip, trying not to scream. Instead, she rocks back and forth, whispering quietly to no one in particular.

**Rei****:**

(In Japanese)

Make it stop…Make it stop… Make it stop…(cont'd.)

The machinegun opens fire again, tearing at the rubble Rei is crouched behind. Her mantra becoming louder and louder as the bullets whine overhead and the soldiers' voices get closer and closer…

Author's Note: 

What's the deal with Kaworu? Who the hell's Elsa? Why no Evas yet? What about Asuka, Shinji, and the rest of the cast? Patience, grasshopper, patience...

Reguardless, here's the start of something that's been lolling around in my head for some time. I've got the story mapped out for the most part and am hoping that I can write it all without too much of a wait between updates. Rest assured that this is one fic I'm particularly excited about writing and am fully set on finishing. As always, let me know what you think. 


	2. Somewhat Damaged

_I have no excuse. Life decided to stop creativity for a while. It's back up, though, along with the fic. Thanks to those few who noticed this story amongst the (literally) thousands of other Eva fics out there. Extra special thanks to those who took time to drop a comment. As I said before, this thing is getting finished come hell or high water._

_R@wr__._

_Apparently, this site isn't displaying centered text anymore (or something on my end is screwy). So if the format of this chapter (and subsequent ones) seems hard(er) to follow, I apologize. I'll repost once I figure it out._

CUT TO:

INT. OFFICE. DAY.

Close up of a black and white TV monitor: A video plays, the camera angle looking down on a girl thrashing about in bed.

**Girl (v.o.): (In German)**** I don't want to die…I don't want to die…I DON'T WANT TO DIE!!!******

Onscreen, she wakes with a cry, sitting bolt upright. Slowly coming to her senses, she pulls the covers off and sits on the edge of the bed. After a moment, she covers her face with her hands and begins crying softly.

Zooming out from the monitor, we see a sunlit office furnished with several bookshelves and an oak desk upon which sits the television. Two women are watching it.

The woman sitting on the left is noticeably younger, her light brown hair pulled back into a bun. She watches the monitor intently.

**Dr. Epstein: Poor thing.**

An older woman sits beside her; short blonde hair frames her tired features. She spins the TV remote in her hand absently.

**Dr. Steuerung: Keep watching.**

Onscreen, the girl is shaking; her voice rising as she talks to herself.

**Girl (v.o.): (Muttering) I don't need you…I don't need anyone!**

Suddenly, she her arm shoots out, grabbing her pillow and throwing it across the room. She leaps up, overturning her nightstand, tearing the few pictures in her room from the wall, and violently attacking anything not nailed down. She screams all the while, sobbing with tears of rage and sadness.

**Girl (v.o.): I hate you! I hate you! I HATE Y- **

The images freezes; the picture of the tormented young woman blurred in motion. Dr. Severa Steuerung sets down the remote, sighing. The younger Dr. Epstein looks visibly distraught.

**Steuerung****: That was two nights ago. It's not usually this bad. That is, when she actually takes her medication.**

**Epstein: She has a history of this sort?**

Steuerung gets up and walks to the table, picking up several folders overflowing with papers. She thumbs through them as she talks.

**Steuerung****: "Underlying mental trauma manifested in psycho-physiological insomnia…" Actually, it's more noticeable when she's awake. Take a look if you want.**

Steuerung hands her the folders. Epstein tries to keep them in her arms while reading the topmost papers.

**Steuerung**: **Again, I apologize for charging you with this on such short notice. My transfer was supposed to be this fall, but the current administration seems to feel that an outgoing doctor with tenure elsewhere is a hazard throughout the facility to interns and grad assistants alike.**

**Epstein:** Uh…I'm sorry?

**Steuerung: Oh, don't be, dear. You're the one who has to stay here.**

Steuerung opens the doorway, motioning for Epstein to follow.

**Steuerung**:** Well…let's meet your charge, shall we?**

INT. ASYLUM – HALLWAY. DAY.

A simple, white hallway lit by large floor-to-ceiling windows covered with heavy bars. Steuerung and Epstein (still thumbing through the folders she carries) walk along the black and white tiled floor as the elder doctor speaks. Two orderlies in white lead the way.

**Steuerung****: Apparently she was part of some Asian military group that was disbanded about five years ago, after which, they brought her to us. She was fifteen then, with no information other than the bare minimum: birth records, education, medical history…nothing else. No records existing after twenty-ten… **

CUT TO:

INT. ASYLUM – CELL.

A white room with a single, barred window and fluorescent overhead lights. The rather Spartan living conditions include a bed, an end table, and a television enclosed in a wire cage nailed high up on the wall. 

The same girl from the video before sits on the floor next to the bed, watching TV and smoking a cigarette. Young and built with a full figure, her features are flawless and soft, with deep blue eyes and long, auburn hair that falls over her shoulders – the kind of girl that men dream of and women loathe. The sleeves of her shirt are rolled up below her elbows; one arm rests on her knee while her other hand – holding a razor blade– absently taps against her underarm, the otherwise flawless white skin covered with telltale scars.

CUT TO:

INT. HALLWAY – RESUMING.

**Steuerung****: Based on her nationality, her former guardians must have figured that one German town was as good as the next and sent her here – despite the fact that her last known local residence was nearer to Cologne than Nuremburg. We tried contacting the next of kin listed, but with no luck; her mother passed away some time ago and the father's whereabouts are unknown. The board could find nowhere else to put her, so we retained her. She's been with us ever since.**

CUT TO:

INT. CELL.

On the TV, "Jeopardy" is playing – albeit, a rerun with German dubbing. The girl watches as a male contestant ponders over a question about geography. After a second, he responds and is greeted by a happy chime telling him he's right. He grins like an idiot and chooses another category, followed by another question and another right answer. She puts her cigarette aside.

**Asuka: Come on… **

A question about politics and the contestant is stumped, a buzzer informing him of his ignorance. He shrugs with a look of, "Oops, my bad".

**Asuka: (Muttering) Figures.**

CUT TO:

INT. HALLWAY – RESUMING.

**Epstein: Couldn't she tell you anything herself?**

**Steuerung****: Not really. She was in a coma when she arrived and stayed that way for almost a year.**

**Epstein: Oh my. But she eventually woke up, right?**

**Steuerung****: (Considers) Well, yes… But she's not all that… open.**

CUT TO:

INT. CELL.

Without hesitation, Asuka slices across her exposed arm; the razor leaving a long, thin trail of red in its wake.

CUT TO:

INT. HALLWAY – RESUMING.

**Epstein: So she's somewhat of a recluse?**

**Steuerung****: Oh, don't get me wrong, she can be very animated if she so chooses – sometimes without abatement – but it's getting her to talk about herself that's the hard part. Understand that she's conscious in every sense of the word and in perfect physical health. It's just that some parts of her mind are…recessive. As though they haven't woken up yet…or she doesn't want them to. **

(She looks at her watch) 

I'm glad that you came today.

CUT TO:

INT. CELL.

The next contestant is a rather obese man who answers incorrectly on the first try, earning a harsh buzz for his effort.

CUT TO:

INT. HALLWAY – RESUMING.

**Epstein: Why?**

CUT TO:

INT. CELL.

Asuka responds to the man's incompetence by carving another line into her skin. She stares at the TV.

**Asuka: Idiot.******

CUT TO:

INT. HALLWAY – RESUMING.

**Steuerung****: You'll have a better idea of what you're dealing with. It's Thursday. "Jeopardy" is on.**

CUT TO:

INT. CELL.

The show adjourns for a commercial break. Asuka looks down at the two fresh wounds in her skin, gently tracing her fingers around them.

**Asuka: (Quietly) Look what you made me do.**

CUT TO:

INT. HALLWAY – RESUMING.

The two doctors come to a stop outside a bolted, white door. Both orderlies stand off to the side as Dr. Steuerung knocks on it.

CUT TO:

INT. CELL.

Hearing the knocking, Asuka dabs at the blood on her arm with a nearby tissue and tosses it in the trashcan. She pulls down her sleeves and hides the razor inside the bed's mattress. As an afterthought, she reaches up and changes the channel on the TV.

CUT TO:

INT. HALLWAY – RESUMING.

Steuerung knocks again. 

**Steuerung: Asuka? It's Doctor Steuerung. May I come in?**

A pause.

**Asuka (O.S): What if I said "no"?**

Steuerung forces a tight smile.

**Steuerung****: Then we go through last Monday all over again.**

Another pause.

**Asuka (O.S): Come in.**

Steuerung nods to one orderly, who unlocks the door and holds it open. Steuerung motions Epstein to follow her inside.

INT. CELL.

Asuka sits on her bed, smoking and still watching television. 

Steuerung sits at the opposite end of the bed while Epstein (still clutching the mass of folders) stands by the doorway. Steuerung speaks as though to a child.

**Steuerung****: (Affably) And how are you today?**

**Asuka: Okay.**

**Steuerung****: That's good. **

(Indicating the television) 

What are we watching?

**Asuka: (Shrugs) I just turned it on.**

**Steuerung****: Find anything good?**

**Asuka: I just turned it on…**

**Steuerung****: Ah.**

On the TV is a cooking show. A chef prepares a batch of yellow to compliment the lump of yellow on the plate beside him.

**Epstein: Do you, uh, do you like cooking?**

Asuka lets the question sit for a moment before shifting her eyes to the younger doctor.

**Asuka: Not particularly.**

An uncomfortable silence lasts until Epstein coughs.

**Steuerung****: Asuka, I'd like you to meet Doctor Epstein. She's just arrived here from the University of Heidelberg. You'll be under her care after I leave.**

Epstein smiles and moves closer, extending one hand to shake.

**Epstein: Hi! Dr. Steuerung has told me a lot about you. I look forward to helping you as much as she did.**

Asuka manages a smile.

**Asuka: What's your name?**

**Epstein: Nora.**

**Asuka: Nora… Well, Nora, if you can hide pills in dinner rolls and control a schizo with a tendency to bite during her fits, I'm sure you'll do just fine.**

A beat. Asuka erupts into uncontrollable laughter at her own joke. After several moments without abatement, Epstein joins in without really knowing why. Steuerung glares at her patient.

**Asuka: (Chuckling) How much dick did you have to suck?**

Epstein stops laughing. Her smile falters.

**Epstein: What?**

**Steuerung****: (Warning) Asuka...!**

**Asuka: How much dick did you suck to get in here? You're too young to have a position this high up after only – when did you graduate?**

**Steuerung****: (To Epstein) Doctor, can I speak with you in the hallway?**

Epstein ignores her. She answers calmly.

**Epstein: (To Asuka) Last year.**

**Asuka: (Still giggling) How old are you?**

**Steuerung****: Doctor…**

**Epstein: Twenty-two.**

Asuka laughs again.

**Asuka: Graduated with honors to land a job at one of the biggest institutions in the nation! **

(To Steuerung)

Oh, Doc, you got a prodigy here!

Asuka leans forward, reveling in the moment.

**Asuka: It's simple. You're too pretty to be here. If you'd been hired on as an intern, I could understand, but Head Analyst with full benefits and enough clout to drive out a senior member with twenty years under her belt? Uh-uh. **

(Evenly)

You are a toy. A cute little doll for the board members to fawn over and something soft for the male researchers to pet. 

(Pointing to Steuerung)

Frau Steuerung here lost her appeal years ago. Now, they need a new face, a young face, to tout the diversity of gender at this fine institution.

A pause as she squints at Epstein's figure.

**Asuka: How much did the boob job cost? Just curious.**

Asuka takes another drag and smiles.

Steuerung grits her teeth as she tries to coax (read: pull) Epstein out of the room. The younger doctor doesn't budge, trying to think up a retort as tears form in her eyes.

**Asuka: (Feigning concern) Oh… You have something to say? Go on, sweetie, speak up.**

Epstein looks as though someone stabbed her in the heart. She opens her mouth to speak, but nothing comes out. Steuerung leads her out the door. They both exit.

**Asuka: What'd I say!?**

INT. HALLWAY.

Steuerung closes the door behind them. Epstein pulls a tissue out of her pocket to dry her eyes, in doing so; she drops most of the folders and their contents.

**Epstein: Dammit… I'm sorry.**

**Steuerung****: I should have had you come earlier when she was asleep.**

**Epstein: No, no, you warned me. I just…Goddamnit.**

**Steuerung****: She's in one of her moods. It's not like this all the time.******

**Epstein: No, It's not just her! It's everyone! They all… I got here on my own. I did this myself!**

**Steuerung****: Of course you did – **

Epstein is visibly distraught, twisting the tissue in her hands to shreds.

**Epstein: (To herself) People whispering behind your back wherever you go – little snide comments they think you can't hear… **

**Steuerung****: Maybe we should- **

**Epstein: "Oh, look, here comes Snow White. Little Miss Princess who thinks she's so lucky to be here; doesn't know they only hired her as pretty scenery! Stupid, manipulative, backstabbing fucks – **

**Steuerung****: NORA!**

Epstein bites her lip, stopping her tirade.

**Steuerung****: (To orderly) Max, why don't you show Doctor Epstein to the cafeteria? **

(To Epstein)

I'll meet you down there; I just want to talk to Miss Soryu for a few minutes. Are you alright?

**Epstein: I…I am perfectly capable…They hired me for my credentials – I have very good credentials!**

**Steuerung****: I'll see you shortly.**

**Orderly: This way, Doctor.**

Still muttering, Epstein is led down the hallway by the orderly. 

**Epstein (O.S): I had – there was a lot of…stuff in my portfolio…They liked that! It was really big – DON'T TOUCH ME!**

Steuerung watches them go. She starts to pick up the papers from the floor. After dropping them again, she settles for simply pushing the mess against the wall. She sighs and enters the cell again.

INT. CELL.

Steuerung slams the door behind her. Asuka gets up to meet her.

**Steuerung****: That was uncalled for.**

**Asuka: What the hell have you done to that poor girl?!**

**Steuerung****: What?!**

**Asuka: That young and you lay all this on her! It's like throwing her to the wolves! If she can't even handle ME, how do you think she'll manage with the lock-ups on fifth floor, or the sadists in the high security wing? Christ, one crack at her and she's crying like some kid with a sprained ankle!**

**Steuerung****: You're as bad – if not worse – than anything fifth floor or the East Wing has to offer. I think she'll do just fine.**

**Asuka: Oh, that hurts. If I had a heart, it'd be breaking.**

**Steuerung****: Was there any reason you needed to make her feel worthless?**

Asuka looks at the Doctor as if to say, "Are you THAT stupid?"

**Asuka: Throughout my life I've noticed something. People carry on with their lives under the misconception that what they are is important and what they're doing actually matters. All this bullshit we're told to make us feel unique and keep us going? Strip that away and we're nothing; just weak, selfish creatures who think delusion is happiness. I had to find out the hard way. Miss Doctor-fucking-wannabe should be glad she heard it from me first.**

**Steuerung****: We've talked about this fatalistic attitude, it's unhealthy- **

**Asuka: Then cure me! If I'm so screwed-up, do something about it!**

**Steuerung****: What have I been doing for two years?!**

**Asuka: Oh yeah, two years of probing my mind, feeding me drugs, and making sure I don't kill myself. For what? All so you can say "fuck it" and hand me off to someone else who doesn't know what they're doing? If you know it's useless, then why go through the motions of helping someone who can't be saved?**

Asuka sits. 

Steuerung stares back at her with a look of astonishment. A pause.

**Steuerung****: I remember when you first arrived here… I thought about nothing but helping you as best I could when and if you came to… **

**Asuka: Oh, please.**

**Steuerung****: But you're right. Why should I care anymore about a patient who, after two years, has made- **

Steuerung grabs Asuka's arm, pulling up the sleeve to reveal the patchwork of scars beneath, the newer cuts dark with dried blood. Asuka shrieks in protest.

**Steuerung****: -so much progress! At least when you were a vegetable you didn't maim yourself to pass the time! I swear to God, you're hopeless!**

Asuka jerks her arm back, retreating towards the far end of the bed.****

**Asuka: GET AWAY FROM ME!**

**Steuerung****: I only see two lines. Were you stuck with a smart group today?**

**Asuka: No, I was interrupted by the warden wanting to show off her new pet.**

**Steuerung****: Why don't you stop working your arms and just do the wrists already?**

Asuka flinches; taken aback by her words.

**Asuka: You'd like that, wouldn't you? Less of a workload.**

**Steuerung****: Oh, but you're not mine any more, remember? I'm just handing you off to someone else who doesn't know what they're doing. You put it perfectly – 'why go through the motions?' You can live, you can die – I don't care! You're not my problem anymore.**

**Asuka: (Whispering) Fuck you- **

**Steuerung****: No, fuck you, dear. Me, Epstein, this whole institution…we came to you with open arms and you told us to piss off. Well, now you can rot in this hole, because you sure don't plan on doing anything else. In my life, I don't think I've met anyone as pathetic and wretched as you. Someone who uses pain as a fun diversion from this hole that's her life, Someone who can't even stand herself, let alone other people. So lost that no amount of ink blot tests, insightful chats, or anti-depressants can ever bring them back… And what's really sick is you don't even care. I stopped pitying you when I realized that you wouldn't have it any other way.**

Asuka trembles with rage as she glares at the doctor. Her eyes glisten with what might be tears, but she refuses to cry openly. Not in front of this woman.

**Steuerung****: Oh… You have something to say? Go on, sweetie, speak up. **

(Pause)

This concludes our session for today.

Steuerung takes a last look at Asuka – now huddled on the bed, staring at her arms – before she gets up and moves towards the door.

No sooner does her hand touch the doorknob as she's tackled from behind by a screaming Asuka. The two of them bang loudly against the door as they fall.

From the floor, Steuerung flails her arm backwards, trying to hit her attacker. Asuka grabs her by the arm, pulling her up. Regaining some balance, Steuerung reaches for the door.

**Steuerung****: PETER - !**

Her cry is cut short as she's shoved headfirst into the door with an audible "Bang!" Instead of falling again, she's spun around by the shoulder to face Asuka-

-CRACK! Asuka head-butts Steuerung, who cries out in pain.

Without pausing, Asuka throws the good doctor against the wall behind them, actually pulling Steuerung off her feet and knocking over the end table in the process. The girl's been working out.

Asuka gets the battered doctor in a headlock as the door behind bursts open and two very big orderlies enter.

The first one pulls Asuka off the doctor and receives an elbow to the face in return. The second brandishes a nightstick; hitting Asuka in the stomach once, doubling her over, and again to the back of her head, sending her to the ground.

A second doctor enters with a syringe in hand. She crouches down next to the two orderlies doing everything they can to keep Asuka restrained. The doctor pumps a sizeable amount of tranquilizers into the young patient's arm. Asuka curses her all the while.

Steuerung gets up with the help of one of the orderlies. Holding her bloodied nose, she totters over to where Asuka lies.

**Steuerung****: Solitary… Three months. With as much Diazepam as we can afford.**

Steuerung steps over Asuka on her way to the door, kicking the girl in the stomach in the process.

**Orderly: Watch your step.**

**Steuerung****: Oops.**

Asuka manages a final plaintive wail before the world slips away from her.

Fade to black.

Fade up on:

INT. ASYLUM – HALLWAY. NIGHT.

Fluorescent lighting above bathes the hall in a sickly yellow. Cell doors line the walls down either side. A sign suspended from the ceiling labels the wing as "Quarantine and Observation". It is deathly quiet, save for the sound of footsteps.

From a side entrance, a person enters this wing. They walk further down the darkened corridor before stopping outside a reinforced door.

INT. CELL.

In the darkness, the sound of shallow breathing is broken by the squeal of a lock being turned. The door to the cell creaks open, stabbing into the gloom with a sliver of light.

Asuka sits up from the mattress she lays on, wincing as her eyes try to adjust. She squints at the figure framed in the doorway.

As her eyes adjust, she can make out details: A woman – no, a girl. Slender build. Average height. Long hair. Blue…eyes…

…in a red plug suit.

Asuka blinks as she looks up at herself, aged fourteen, and wearing the red body glove used for piloting Evas.

The younger Asuka stares back – except she is now the one huddled under a blanket on a mattress on the floor.

From the doorway, Asuka stands in her place, staring impassively back at her.

She steps back, letting the door close and the darkness swallow up her younger self.

CUT TO IMAGE:

EXT. GRAVEYARD. DAY.

Rain falls from a gray sky. Mourners in black stand around an open grave.

CUT TO IMAGE:

INT. ROOM.

A small room with metal walls stained red with rust. A chair sits in the middle. In one of the corners, a woman stands facing the wall.

A quick cut and the woman is now sitting in the chair with her face in her hands.

CUT TO IMAGE:

INT. MILITARY COMPLEX. HALLWAY.

Blood-stained walls scream of murder and bullet-riddled bodies line the floor. The corpses wear the attire of NERV technicians and personnel. Curled against the wall in the fetal position, Asuka sits motionless in a white hospital gown spattered with red.

CUT TO SCENE 1:

EXT. CITY – STREET. DAY.

NO SOUND: Standing on a sidewalk, a young girl holds her mother's hand while clutching a stuffed animal. She stares ahead, unblinking.

CUT TO SCENE 2:

INT. BEDROOM. DAY.

NO SOUND: From the doorway, we see a woman wearing a nightgown sitting in front of a large dresser and putting on makeup.

CUT TO IMAGE:

INT. MISATO'S APARTMENT - KITCHEN. DAY.

The residence lies dark and empty; devoid of life. Sparse light filters in from the gray sky outside. A plate of food sits uneaten. 

The buzzing of flies is distinctly heard.

CUT TO SCENE 3:

INT. APARTMENT SLUM. DAY.

A condemned apartment building with the roof missing. In what used to be the bathroom, Asuka lays naked inside a tub filled with dirty water, staring blankly up at the endless blue sky. 

The buzzing of flies continues, only louder; almost grating.

CUT TO SCENE 1:

The young girl's mother reaches down, taking the stuffed animal from her daughter's hands.

CUT TO SCENE 2:

The woman finishes putting on a conservative-looking outfit.

CUT TO SCENE 1:

Still holding her daughter's hand, the girl's mother tosses the stuffed animal out into the street.

CUT TO SCENE 2:

The woman fixes her hair as she looks in the mirror mounted behind the dresser. Satisfied, she smiles slightly and walks back into the room, out of frame. The woman returns. This time, she takes the chair she was sitting on and pulls it off-frame with her as she exits again.

CUT TO SCENE 1:

The girl protests, pulling at her mother's hand to get free as she watches her stuffed animal slowly arc through the air and come to rest in the middle of the street.

CUT TO SCENE 2:

Sunlight streams into the bedroom in thin lines from the partially closed window blinds. The waning light outside tells us some time has elapsed. As we watch, a young girl enters the frame, pausing outside the doorway.

CUT TO SCENE 3:

Asuka lifts one frail arm up from the dark water, inspecting it like she's never seen it before.

CUT TO SCENE 1:

The girl continues her struggle to get free as, from out of nowhere, a flock of black crows descends upon the stuffed animal. It disappears under a mass of flapping wings and pecking beaks. 

CUT TO SCENE 2:

The girl looks back down the hall she came from. It's Asuka as a child. Smiling, she mouths a wordless call, apparently searching for someone. She enters the room, walking out of our line of sight in the process.

CUT TO SCENE 1:

The girl tugs to be free of her mother's grasp as she watches the black mass of birds flapping over her toy.

CUT TO SCENE 3:

Still looking at her one arm, Asuka brings the other up out of the water; in that hand, she holds a straight razor.

CUT TO SCENE 1:

The girl wrenches herself free from her mother's grasp, running out into the street to retrieve her possession from the writhing mass of wings and talons. The mother remains motionless; reaching after her daughter in vain.

CUT TO SCENE 2:

Slowly, we move into the bedroom, passing the nightstand in the process. "FOLLOW ME" is written on the mirror in smeared red lipstick…

…turning the corner, we find the young Asuka standing in the middle of the room, looking up.

CUT TO SCENE 3:

Asuka slowly brings the razor up to her wrist.

CUT TO SCENE 1:

The crows take to the sky as the girl runs over to them. Wings beat the air around her and feathers float about as she pushes through the departing flock towards her stuffed animal.

CUT TO SCENE 2:

Looking up, we see the woman from before suspended from the ceiling fan with a noose tight around her neck. She swings in wide, languid circles. A chair lies beneath her, kicked over. As the woman's body swings around, we catch a glimpse of her face – eyes swollen shut, jaw slack, and tongue, thick and purple, hanging out.

CUT TO SCENE 3:

Asuka presses down, drawing the razor across her wrist slowly. The buzzing noise begins to intensify.

CUT TO SCENE 1:

The girl stares at the remains of her stuffed animal. Bits of fabric and stuffing lie in a spreading pool of dark red blood. Amidst the carnage we can also discern a human eye and several teeth.

CUT TO SCENE 2:

The child Asuka stares with wide eyes, not knowing what to make of this. As she watches, the body comes around again. But instead of the woman, Asuka now hangs in her place. 

The fan comes to a stop along with her body. Young Asuka stares at her older self hanging in the noose. 

Asuka's eyes open. Her gaze, cold and empty, falls on the child before her.

CUT TO IMAGE:

INT. ROOM.

A small room with metal walls stained red with rust. The woman sitting in the center looks up. Tears flow down her face from eyes as black as the night.

CUT TO SCENE 2:

Despite the noose cutting into her neck, Asuka lets loose a piercing shriek.

CUT TO SCENE 1:

(Sound of Asuka screaming) The young girl opens her mouth in a soundless scream.   

CUT TO SCENE 3:

(Sound of Asuka screaming) Her face expressionless, Asuka holds her cut wrist above the water. The buzzing is now shrill and mixed with chittering noises as, not blood, but a black mass of insects seep from the wound.

CUT TO BLACK.

INT. ASYLUM. HALLWAY – NIGHT.

Asuka's screams echo down the corridor as Dr. Epstein and an orderly walk towards the open door ahead of them. 

Epstein holds a bottle of clear liquid. With a syringe, she draws a sizable dose of it.

INT. ASYLUM. CELL – CONTINUOUS.

Epstein enters the room. Asuka kicks and squirms while two orderlies try to subdue her.

Epstein moves towards the screaming girl as the orderly follows, closing the door after them.

FADE TO BLACK.

_I've another chapter to finalize before posting._

_- "And there was much rejoicing."_

_- "Yaaaay."___

_So…more soon._


	3. Life by the Bay

The sound of an alarm clock buzzing. Its incessant whine is silenced by a "thwack".

A moment passes before a radio comes on, blaring loud rock music.

FADE UP ON:

INT. APARTMENT. MORNING.

A blanket-covered form lies on a large bed. From underneath the covers, a hand groggily wanders out in search of the offensive noise, fumbling on the nearby nightstand for the clock radio. Another "thwack" and it is silenced as well.

A pause.

From the opposite side of the bed, a third alarm goes off, clamoring for its owner's attention.

As the blanketed form rolls over to silence the new offender, the first alarm goes off again, followed by the clock radio with its music.

The outstretched hand falls to the bed in defeat. From underneath the covers comes an audible sigh.

With a grunt, the young man sits up in bed. He's about twenty, with short brown hair and blue eyes. He's not scrawny in any sense of the word, but not too built either. "Cute" in a nerdy kind of way. Meet Shinji Ikari.

He gets out of bed and reaches towards a nearby outlet, unplugging a surge protector crammed with cords. The three alarms are silenced with a squawk.

Shinji crosses the span of the spacious studio apartment he lives in. He flicks on the TV in passing, making a beeline for the kitchen across the room.

On the television, a news anchor is speaking:

**Anchor (v.o.): …on the activation of reserve forces last month, one-hundred and twenty-two Labour lawmakers voted against the government -- the biggest revolt since the party came to power back in nineteen ninety-seven. Howard had said during the 10-hour debate: "Back away from this confrontation now and future conflicts will be infinitely worse and more devastating in their effects"…**

Shinji half-listens as he prepares coffee.

**Anchor (v.o.): **While England remains divided over continued involvement in the war, White House Press Secretary James Atherton issued a statement of the United States' continued support for its allies overseas…

The TV cuts to a man in a suit speaking at a press conference. He stands at a podium as he reads from a script.

**Speaker (v.o.): **We are, at this time, fully committed in our support of the war against Eastern aggression. President Flegman has authorized an additional twenty shipments of supplies including weapons, ammunition, food, vehicles, and other materiel to the front lines of the Ukraine and Poland. Shipments of surplus clothing, food, and other essentials are also being directed towards the populations of these nations devastated by the war. As always, we ask that NATO and her allies take heart in the fact that they are supported by us in this endeavor one-hundred-and-ten percent and that, god willing, we shall prevail in this dark hour. Thank you.

Shinji leaves the coffee to drip as he walks over to the window and opens the blinds. The view is of an urban area that slopes down in the distance, leading to a major metropolitan center. The Bank of America lies within the mass of buildings with the Transamerica Pyramid visible on the horizon.

The rapid beat of paws on the floor causes Shinji to look down at the small brown Dachshund barking at his feet. He reaches down and picks him up, walking back towards the couch and TV. The little dog licks Shinji's face as he tries to keep from dropping it.

**Shinji: **Morning, Yoshi. Yes, I'm happy you're awake too.

The dog in his arms yips in reply.

The anchor returns onscreen.

**Anchor (v.o.): **Secretary Atherton did not comment on the recent remarks made by German minister Hans Hagmann about whether or not the President was planning to include American troops in his supply shipments. Whether such resentment exists in the rest of the international community remains to be seen. President Flegman's continued policy of "involvement without action" has also sparked recent dissent amongst both Democrats AND Republicans in the House and Senate. In fact, more than a few government officials have said they would like to see one of the "pillars" of NATO supporting her allies through more than just words… 

Shinji sets the pet down on the couch and returns to the kitchen. In passing, he hits a button on a feeding device of some kind. With a whirr, a portion of dog food is dispensed into a dish at its base. The small dog has his face in the bowl before the machine is even done.

Shinji pours a cup of java and heads to the bathroom, closing the door behind him. A moment passes before we hear the sound of a shower running.

**Anchor (v.o.): **Well, as NATO presence in the region increases daily, AP journalists have been given unprecedented access to the front lines. Our own Kim Prus is currently accompanying a mechanized infantry unit out of Frankfurt, Germany as they advance into the central Ukraine. We'd like to caution our viewers that the following footage may be inappropriate for younger audiences. With that, let's hear what she has to say.

The camera cuts to a woman in woodland camouflage standing in a camp and holding a microphone. Behind her, troops and machinery move by.

**Reporter (v.o.): **Since the recent Russian advances into the region during the past few weeks, NATO forces have been put on the defensive, reeling from the surprising aggression in a region considered "secured" only months before. A recent attack by Baltic forces took several important river cities, including the major port of Kiev, from Polish and German control, resulting in devastating losses as the Russians pressed almost all the way to the Polish border. We've been hearing reports that other German brigades are on the move along the southern border of Belarus and are massing there. Where I am, at the moment, is with the Twenty-Eighth Schwere Waffen, or Heavy Weapons brigade. They are currently settling in the town of Zhytomyr, a town about a hundred miles west of Kiev and establishing what may become a key base of operations in the effort to retake the central part of the country. Initially labeled as unoccupied, this town was reclaimed after recon elements from the Twenty-Eighth found advancing Baltic forces within the city limits. At some point in the next day or so, they will move farther toward the Dnipro River to support an advance from the south by detachments of Polish Eva and air squadrons stationed on the Crimean peninsula. The tension felt here is warranted as these soldiers will be advancing into what most have dubbed, quite literally, "Der Fluß des Bluts". "The River of Blood"…

The camera cuts to an aerial view of a waterway. A town lies in the distance with a decimated bridge hanging limply across the expanse. A scenic view except that the entire river is filled with a dark, oil-like liquid, black near the middle and dark red along the banks. Blood stems from the dozen or so immobile forms lying in and around the river. Black, Red, Blue, what-used-to-be-white – Evas of various colors and models lie fallen in facsimiles of human death. The reporter speaks over this.

**Reporter (v.o): A grim spectacle. The once beautiful Dnipro River, a vital source of commerce among the cities situated along this waterway, now appears like some dark serpent winding its way through a country in its death throes. The recent fighting has only added to the number of dead in a region scarred from more than two years of battle as Eva series, both Baltic and Allied, lie twisted and broken in a graveyard of fallen giants. Because of the amount of contamination presented by the slow decay of the Evas' organic components and the instability of their mechanical ones, there has been little opportunity to rescue any pilots still alive. Since the last attacks, lost pilots are being hopefully listed as MIA until confirmed otherwise…**

Shinji comes out of the bathroom in a robe. He stops in the kitchen to pour another cup of coffee and shove a breakfast burrito into the microwave. As that cooks, he plops down on the couch in front of the TV.

On TV, the reporter walks through an encampment, with soldiers trying to relax in the background.

**Reporter (v.o.): The conditions here are, as expected, rough. With the coming of spring, the temperature is around fifty-five to sixty; a welcomed relief from the low tens and twenties of February and January, but still a far cry from what most are used to. May is also a fairly rainy month, so weather such as this will be pretty common until later this summer. To get a better idea of just what sort of life is lived out here, I went to ask the soldiers themselves… **

The phone rings. Shinji goes to answer it. 

The microwave also goes off. Shinji pops the door and reaches in to collect the burrito.

**Shinji: Hello?**

(Juggling the still hot burrito)

Ow. Hey, what's up? … I'm good. … Yeah, I remember. Why? … But we talked about this – … I thought Dan could cover prep on mornings. … Well, I CAN, but didn't we decide… Uh-huh. … Yeah. … 

(Sighs)

No, I did. … I know. … Sure, no problem. It's, uh, it's no trouble. … Okay. See you in a bit. … Bye.

(Hanging up)

Figures.

He goes to eat the burrito, cringing when he gets a mouthful of burnt imitation tortilla. Sighing, he pitches it into a trashcan.

**Shinji: Dammitt.**

Shinji crosses the room to a dresser by the bed. He mutters as he gets changed. Along with his jeans and t-shirt, he pulls out a rumpled apron, a short-sleeved red shirt, and a hat with a restaurant logo on it.

On the TV, the reporter is interviewing several soldiers with the help of an interpreter.

Yoshi jumps up on the couch with a leash in his mouth, wagging his tail as Shinji walks by again. Shinji pauses, slapping his forehead.

**Shinji: Ah, I'm sorry, buddy. They need me in early again. I promise we'll hit the park after I get off, alright?**

The little dog looks disappointed.

Shinji throws on some shoes and grabs a set of keys from the wall.

**Shinji: (Indicating the TV) Don't sit too close now.**

The small dog sits up on the couch, leaning towards the glowing box. He replies with a small grunt.

Shinji exits out the door, slamming it behind him.

The TV still shows the reporter speaking. Now she's standing in a hospital ward with patients and medics all around.

Another group of soldiers sits behind her. Amongst them we see a familiar face: Rei Ayanami sits next to them, staring out the window. She appears unharmed.

**Reporter (v.o.): …reserve forces having not yet arrived to this area, rumors circulate of some battalions turning to nearby medical wards in hopes of replacing those gaps. This has yet to be confirmed, though… **

The group looks at the camera. Their eyes have dark circles underneath and their features are slack; portraits of fatigue.

**Reporter (v.o.): Despite what has happened, the spirit is one of optimism. Fresh troops will be here soon and pilots and ground forces alike seem comforted by this fact. With all things considered, there isn't anywhere safer on the front lines than where I am right now…**

She turns to the young people behind her.

**Reporter (v.o.): Is there anything you'd like to add before we go?**

The interpreter speaks to them. No one responds immediately. A few exchanged tired glances.

After no one responds, the reporter points the mike at a girl sitting at her feet. 

The girl has bandages all over her right shoulder and up the side of her neck, including her larynx. Her eyes look as though she's been crying. The girl gingerly takes the microphone from the reporter's hands. She stares at the camera with small nervous eyes and tries to speak. After an uncomfortable pause, the reporter reaches down to take back the mike.

Rei steps down from the window sill where she sits. She pats the girl's other shoulder and takes the microphone instead. The girl lowers her head, making quiet sobbing noises.

The reporter looks puzzled as Rei gets up and approaches the camera in front of her. For an eternity of a second her eyes lock with those of a million viewers. Less than a foot from the lens, she speaks three words in fluent English.

**Rei**** (v.o.): **Pray for us.

With that, she tosses the microphone to the side and walks off-camera. The reporter and interpreter stare after her; perplexed.

CUT TO:

INT. RESTAURANT – BAR. MORNING.

An eatery done in the style of a neighborhood grill, with an assortment of useless kitsch hung on the walls. 

On the TV suspended over the bar, Rei walks offscreen, tossing the microphone over her shoulder.

Two servers sit and watch the screen with glazed eyes. Being that they're servers, it's understandable; the fact that it's not yet past eight makes it excusable.

**Server 1: I didn't know they spoke English.**

**Server 2: Yeah… in some places.**

**Server 1:(Pause) She was kind of cute.**

**Server 2: (Pause) Uh-huh.**

They continue watching; half-awake. Behind them, Shinji enters through the front door, exchanging greetings with the hostess on the way in.

He makes his way around the bar, entering the back of the house through the swinging door.

INT. RESTAURANT – KITCHEN.

A microcosm of white walls, red tiled floors, and metal storage racks, the kitchen is rather empty at the moment save for one other employee. A young man stands near a small scale, weighing out portions of cheese from a large container.

**Kevin: Hey man.**

**Shinji: Hey.**

Shinji walks over to a computer terminal and punches in.

An older, heavyset woman comes out from the back office.

**Rose: Morning Shinji.**

**Shinji: Hey Rose. Can you clock me in?**

She keys a second number into the terminal.

**Rose: Sure thing. Hey listen, can you help me out a bit today?**

**Shinji: What is it?**

**Rose: I need somebody to cover pantry tonight. Anthony was supposed to, but he called off sick –**

**Shinji: Anthony always calls off sick.**

**Rose: – and I need somebody to cover his shift. I think he was scheduled for… five-thirty till… ten?**

**Kevin: Close.**

**Rose: Close. Yeah, if you could cover for him that would be great.**

Shinji grimaces.

**Rose: It would really help me out tonight. Chris is still training Mike on grill and everything and we could use somebody who knows what they're doing.**

**Shinji: …Fine.**

**Rose: You'd be getting off at three anyways, so that'll give you a little break for food or whatever.**

**Shinji: Okay.**

**Rose: Thanks, my man.**

Rose slaps him on the shoulder as she exits.

Shinji stands in the center of the kitchen for a moment before following her, sighing.

INT. RESTAURANT – KITCHEN. LATER.

Friday night at the restaurant. Servers scramble to stay on top of orders while the back of house workers (cooks, prep, etc.) attempt to keep up with the appetite of consumer America. The kitchen is alive; a living, breathing, sweating thing, pulsing from the activity of so many people.

CUT TO IMAGES:

Shinji dumps a bag of French fries into the hot, bubbling grease of the fryer.

Shinji smears burger buns with butter and slaps them onto the grill.

Shinji attempts to open the freezer door while juggling two large containers of Ranch dressing. One decides to upend itself in the process.

INT. RESTAURANT – KITCHEN. MUCH LATER.

Shinji stands in front of the fryer, staring vacantly at a lump of something brown sizzling in the tub before him. To be frank, he looks like shit. His shirt is dirty with all manner of stains and he slouches tiredly.

**Server (O.S): Shinji…? Shinji!**

The voice stirs him from his reverie. He looks behind to see a server beckoning him from the other side of the make-line.

**Shinji: Sorry. What is it?**

**Server: Some guy out front is looking for you.**

**Shinji: Some guy? What's his name?**

**Server: Uh, didn't ask. He said it's important though.**

**Shinji: Okay… What's he look like?**

**Server: Well, he's wearing a suit… Looks like somebody from the government or something.**

Shinji looks puzzled.

The buzzer next to his head goes off. He hits it and fishes the brown lump – now black – out of the fryer. Shinji peels off his apron as he walks out from behind the line and towards the front.

**Shinji: Cover for me, Kev.**

Kevin (still sitting at the prep table with the everlasting box of cheese) grunts an affirmative as Shinji walks by.

INT. RESTAURANT – DINING ROOM.

Shinji looks around the restaurant, pushing through throngs of people moving to and around the tables. He reaches the reception area and scans the waiting patrons.

Standing out from the older couples and the families of four is a younger man not much older than Shinji dressed in a dark suit and tie. Rather lanky, he has crew-cut dark brown hair and blue eyes. He returns Shinji's gaze.

Shinji approaches him as the young man fishes a picture out of his jacket pocket. He looks at it and then Shinji before grinning.

**Cameron: Shinji Ikari?**

**Shinji: Yes…?**

He puts the picture away and extends his hand to greet the fry cook, smiling.

**Cameron: Lieutenant Cameron Fisher, United States Army. Nice to meet you.**

Shinji shakes his outstretched hand hesitantly.

**Shinji: Hi…**

**Cameron: Pretty busy tonight, huh?**

**Shinji: Yeah. Friday and all…**

**Cameron: Right. Gotcha… You know, I used to work for this chain. That was back in Ohio, though.**

**Shinji: Uh-huh.**

An impasse. Shinji coughs to break the silence.

**Shinji: Is, uh, is there something you need?**

**Cameron: Well, um, they sent me in to collect you…**

**Shinji: Who's "they"?**

**Cameron: My superiors. They're waiting outside. If you'll just follow me –**

**Shinji: Can you tell me what this is about?**

Already at the doors, Cameron stops and turns around.

**Cameron: (Confused) Didn't they call you?**

**Shinji: No, no one called me.**

**Cameron: No phone call? They were supposed to contact you –**

**Shinji: Who is "they"?!**

Cameron chews his lip, considering.

**Cameron: Come with me. They can explain it to you better than I can.**

He exits. Shinji follows.

EXT. RESTAURANT. EVENING.

Shinji follows Cameron around the side of the building past a parking lot jammed with cars. He talks to Cameron as they walk.

**Shinji: What does the American military want with me?**

**Cameron: Actually, we're just acting as intermediaries. The Pacific Council was the one to contact us by way of the Japanese consulate.**

**Shinji: What?**

Shinji stops in his tracks, momentarily baffled. He shakes his head and chases after Cameron.

**Shinji: But I immigrated. I – I'm here now.**

**Cameron: Oh, they know that. But, um… there's a situation that they think you might be able to help with…**

The two of them stop next to a black car sitting at the far end of the lot. A suit in sunglasses stands beside it, drinking coffee from a Styrofoam cup.

**Shinji: What happened? Who's "They"?**

**Cameron: Look, they just told us to come and get you. All I know is that you came highly recommended from the Japanese rep.  Uh…  Chairman Fuyushi, I think.**

**Shinji: (Thinking) Fuyushi… Fuy…utsuki?**

**Cameron: That was it! You know him?**

Shinji turns to the sound of the car's door opening. A figure steps out.

An older man with trim, gray (somewhat white) hair, a face wrinkled with age, and deep-set, dark eyes that squint in the vanishing light of the day approaches the young Ikari. He wears a simple dark brown suit and a white shirt with an unbuttoned collar and loose tie. 

After an awkward pause, the former Sub-Commander of NERV, Kozou Fuyutsuki addresses his former sub-ordinate with a simple pleasantry.

**Fuyutsuki****: **(Clears throat) Hello, Shinji.

CUT TO BLACK.


	4. Finding the First

That could've been a shorter update. Again, sorry to anyone anticipating chapters, but I can see this being a fairly common occurrence throughout the story's run. But then, what's done is done. Enjoy.

------

FADE UP ON:

EXT. TOWN SQUARE. DAY.

A desolated town somewhere in the Ukraine. Gray clouds hang low overhead, threatening rain.

A checkpoint sits near an intersection currently flooded with all manner of vehicles and pedestrians. A parade of military trucks and troops march one way, while an equally long line of civilians and non-combatants head in the opposite direction: a sort of combat zone rush-hour.

Situated beneath a hastily-erected tarp, groups of soldiers at a machinegun nest try to clear personnel through as quickly as possible.  

EXT. TOWN SQUARE – CHECK POINT. SAME.

Off to the side sit two NATO soldiers. Having realized the futility in managing the chaos before them, they appear to be taking a break. A nearby radio plays rock music. One soldier reads a magazine while the other chucks pebbles at a puddle in the street. 

**Solder 1: **"Muffin Man." As in, one who sells muffins. A muffin vendor, if you will.

**Soldier 2: **Bullshit.

The first soldier looks up from the magazine in exasperation.

**Soldier 1: **Dude…!

**Soldier 2: **He's a muffin with LEGS!!

**Soldier 1: **He "lives on Drury Lane". How does a giant, walking muffin rent a loft?!

**Soldier 2: **I never said he was a giant. Also, it only says he LIVES on Drury Lane. Nothing about "he runs his bakery from the shop on Drury Lane".

**Soldier 1: **Okay, but don't we assume that this vendor – of muffins – lives in AND operates his muffin shop from the same place?

**Soldier 2: **No, because that doesn't make any sense.

**Soldier 1: **Oh, but a sentient muffin does?

CUT TO:

EXT. TOWN SQUARE.

A truck roars past, revealing two particular travelers amongst the throng of military green and gray.

Fuyutsuki holds a crumpled map in one hand as he looks around, trying to get his bearings. He wears dark khakis and a light-colored sports jacket with a flak vest strapped over top.

Cameron is with him. The combat fatigues he wears are an amalgam of east and west; resembling those of the soldiers around him but without patches or identification of any kind, save for a UN armband on his right. He wears a U.S. Officer's cap as opposed to the standard red beret. Over his shoulder is slung a modified assault rifle.

The pair makes their way past a traffic jam involving two jeeps and a mule. They head towards the checkpoint in front of them.

EXT. TOWN  SQUARE – CHECKPOINT – CONTINUOUS.

The soldiers are still arguing as Fuyutsuki and Cameron approach.

**Soldier 1: **Don't start with this.

**Soldier 2: **What!?

**Soldier 1: **This! What you're doing right now!

**Soldier 2: **What am I doing!?

**Soldier 1: **You're getting upset over stupid shit!

**Cameron: **(Clears throat) Um… excuse me…?

The soldiers ignore him.

**Soldier 1: **Remember that whole 'Beatles/Hard Rock' debate you had with Mikal?

**Soldier 2: **Oh my God…

Cameron looks around, biting his lip. Fuyutsuki checks his watch. 

**Fuyutsuki****: **They can understand you, right?

**Cameron: **If they'd listen, they would understand me just fine…

**Soldier 2: **Okay… First: Mikal is a complete tool. Second: his thing was that The Beatles were the greatest HARD rock band of all time. But since The Beatles are not in any way, shape, or form HARD rock, it makes no sense.

**Soldier 1: **They influenced a lot of future hard rock artists…

**Soldier 2: **I'm sorry, but simply influencing a genre doesn't make you a part of it.

**Cameron: **HELLO?!

Annoyed, the soldiers turn to Fuyutski and Cameron.

**Soldier 2: **Do you mind?

**Cameron: **Actually I do. We're on official business. We want to get through here quickly.

Cameron pulls a few crumpled papers from one pocket and slaps it down on one of the sandbags in front of the soldier.

**Soldier 2: **Nobody's stopping you…

**Cameron: **I gathered as much. But we're gonna' be traveling through some bad neighborhoods in this lovely country so I'd like the added insurance of diplomatic immunity…

Cameron points to a small, worn document stamp next to the soldier's elbow.

**Cameron: **So, uh, if you'll just do whatever it is you're supposed to be doing, we'll be on our way.

**Soldier 2: **Or I could just keep you here as long as I feel like…

Meanwhile, a young girl in a skirt and light jacket has approached the checkpoint. From a backpack, she pulls out a Matryoshka doll and begins playing with it; pulling each successive shell off until the smallest doll remains.

Fuyutsuki watches this as Cameron tries to reason with the guard.

**Cameron: **We're here under the provisions of the U.N. You keep us any longer than need be and you'll be obstructing a diplomatic mission.

**Soldier 2: **What? You negotiators?

**Cameron: **We're looking for someone.

The soldier points to a cluster of people sitting around the other side of the checkpoint.

**Soldier 2: **You're not the only ones. Take a number.

The little girl collects the pieces of her doll and puts it back in her bag as her mother approaches. The girl takes her mother's hand as the two of them scurry away.

Fuyutsuki watches them go before turning to look at the people awaiting clearance. He scans the crowd, taking in the tired faces of both the guards and the civilians under their watch. As he watches, one guard shoulders her rifle, reaches up to take off her beret, and runs a hand through her white hair. 

Fuyutsuki steps forward. Something familiar about her…

The guard under his current scrutiny turns in his direction. After a moment, she notices the old man staring at her. Though her hair is now much shorter (closely copped to her head, almost like a crew cut) and bleached white, there is no mistaking Rei Ayanami's crimson eyes. 

Fuyutsuki looks closer to make sure his eyes don't deceive him.

Rei looks puzzled, not sure who the man is looking at.

**Fuyutsuki****: **Rei?!

A hint of recognition can be seen as Rei matches a name to the face and voice.

Just then, a truck in the congested intersection to their right explodes in a burst of flame and metal.

CUT TO:

EXT. TOWN SQUARE.

The truck and several nearby vehicles burn as soldiers move to help the wounded.

From the upper stories of several buildings, shutters are thrown open as gunmen begin to open fire on the crowd below.

Soldiers take cover, returning fire as best they can as the intersection quickly becomes a shooting gallery.

CUT TO:

EXT. TOWN SQUARE – CHECKPOINT.

Fuyutsuki is pulled to the ground by Cameron. He has to shout to be heard over the screaming and gunfire.

**Fuyutsuki****: **WHAT'S GOING ON?!

**Cameron: **PARTISANS! THEY'RE AFTER THE CONVOY! WE HAVE TO GET OUT OF HERE!

**Fuyutsuki****: **I FOUND HER!

**Cameron: **WHAT?

**Fuyutsuki****: **I FOUND HER!

**Cameron: **WHO?

**Fuyutsuki****: **REI!

Fuyutsuki points to…

…where Rei was standing.

**Fuyutsuki****: **DAMMIT!

**Cameron: **WE'LL FIND HER! COME ON!

With that, he and Fuyutsuki get up, stumbling towards cover. 

EXT. TOWN SQUARE – CONTINUOUS.

Crouching, they run behind a nearby group of cows. The bovines loudly protest the noise and their current use as shields.

Cameron peers around the side of his cover. Across the street, he sees two NATO soldiers lobbing grenades into the second story window of a bakery. The grenades are thrown back out just as quickly, making the soldiers take cover from their own munitions.

In front of him, a couple of soldiers return fire from behind a rust-colored VW bus, ducking back down as fire from the nearby windows laces their position. Several rounds strike near Cameron, causing him to duck back.

A keeling wail comes from the right. Cameron looks over to see two of the unfortunate livestock wounded on the ground, pockmarked with bullet holes. Fuyutuski scrambles towards him, wheezing

**Fuyutsuki****: **(Panting) I'm getting too old for this shit… (To Cameron) We need cover that doesn't bleed!

Cameron points.

**Cameron: **To the left. See that truck? Run for it, I'll cover you.

He readies his rifle.

**Fuyutsuki****: **You're kidding, right?

**Cameron: **Ready? GO!

Fuyutsuki stays where he is.

**Cameron: **What are you doing?

**Fuyutsuki****: **I'm sixty-two. I don't run.

**Cameron: **(Eying the distance) You can make it…

A high-pitched whistle is followed by a loud explosion as an RPG strikes its target. The truck in question detonates in fire.

To their right, several soldiers come running by, diving over a low wall up ahead.

Sniper fire kicks up around a straggling soldier, forcing him to veer left towards the cows and the two envoys crouched behind them. He scrambles to safety, losing his beret in the process.

The soldier glances over at the two of them while reloading his rifle. Up close, we see that "he" is actually a "she". Moreover, "she" happens to be Rei. She freezes.

Cameron and Fuyutsuki just stare. There is the sound of heavy machinery approaching.

Cameron offers his hand to shake.

**Cameron: **Miss Ayanami!?

Rei's attention is held by something behind them.

**Rei****: **Duck…

The gap behind Fuyutsuki and Cameron is suddenly filled by tank treads as something very large and very well-armored grinds into view. Hand still outstretched, Cameron shakes his head.

**Cameron: **What?

**Rei****: **DUCK!

Rei dives on top of them, pulling the two to the ground.

Simultaneously, the cannon of the tank behind them belches orange flame, firing into the partisan-occupied buildings. The ground shakes from the discharge not less than a dozen meters away. The noise is deafening.

Fuyutsuki coughs as the dust around them billows and settles back in a thick cloud, obscuring all vision.

FADE TO BLACK.

------

For those that prefer to be informed, check my journal if it pleases you to see what's keeping me from updating:

www.livejournal.com/users/mephisto1391/


	5. Discourse, Choices part 1

Oh my God. Two updates within the same week! Impossible. What Madness has spread here?

----------

CUT TO:

INT. ASYLUM – FRONT OFFICE. DAY.

Cameron sits on a bench reading a magazine. A white bandage covers his left temple. He sips intermittently from a cup of coffee.

Behind him is a large glass partition, separating the waiting room from the offices. Inside, Fuyutsuki can be seen arguing with two doctors, one of which is Dr. Epstein.

A scruffy-looking man in white approaches Cameron cautiously. He sits on the bench opposite him.

The man stares.

**Patient: **Hey.

Cameron looks up, nods.

**Cameron: **Hey.

**Patient: **Hey, sometimes, you know, sometimes I can see tigers…

**Cameron: **Hm.

**Patient: **Yeah.

Cameron goes back to reading.

**Patient: **But, uh… just not right now, though…

Cameron continues flipping through the magazine. The patient shifts around in his seat.

**Patient: **I can travel through time…

**Cameron: **Cool.

They sit in silence for another moment.

**Patient: **I saw you die.

**Cameron: **Oh yeah?

**Patient: **Yeah.

As if by magic, a large, burly orderly appears behind him. He effortlessly lifts the patient off the bench by his arms.

**Patient: **Well… see ya.

**Cameron: **(Without looking up) Later.

The orderly drags the patient away. Cameron continues flipping through the magazine.

A door to the side opens and Fuyutsuki steps out. Cameron looks up.

**Fuyutsuki****: **This might take a while. Head on down to, uh, room three-oh-nine. They'll bring her down shortly. I'll be there as soon as I can.

**Cameron: **Sure. Um…

**Fuyutsuki****: **What?

**Cameron: **Like, what do I say?

**Fuyutsuki****: **Brief her. Tell her what's going on. Mention the others. Make it so that she wants to help.

**Cameron: **What if she doesn't?

**Fuyutsuki****: **I don't know… Bribe her.

**Cameron: **Oh.

**Fuyutsuki****: **Good luck.

Fuyutsuki walks back in the room.

Cameron pitches the now empty cup into a trashcan, picks up some folders beside him, and heads down the hall.

CUT TO:

INT. ASYLUM – HALLWAY.

A plain white door with the numbers "309" on it. From the other side we can faintly hear singing.

CUT TO:

INT. ASYLUM – MEETING ROOM.

Asuka sits in a swivel chair, spinning languidly around as she croons to herself. She flips through a stapled document of some kind.

**Asuka: **Hey pretty… don't you wanna take a ride with me? Through my world… Hey pretty… Don't you wanna kick and slide? Through my world…

A swath of papers covers the small table at which she and Cameron are seated. Cameron sits across from her, staring at the girl in rumpled, white hospital attire.

**Cameron: **You finished?

**Asuka: **(Not looking up) What does "adjudicate" mean?

**Cameron: **To be convicted.

**Asuka: **Okay.

Asuka turns the papers various ways, seeing how many different angles she can see the same boring legalese from. Cameron can't help but notice that Asuka isn't really reading anymore.

**Cameron: **You done, then?

**Asuka: **Do you know what "anamnesis" means?

**Cameron: **A prior history or a, uh, recollection of something that's already there. It's a medical term, I think.

**Asuka: **Ah.

**Cameron: **Well, then –

**Asuka: **Do you know what "onomatopoeia" means?

**Cameron: **(Pause) A… word that… imitates how a sound, uh, sounds…

**Asuka: **Good boy.

**Cameron: **Well, as long as I have your attention –

**Asuka: **Do you know what "cunnilingus" means?

**Cameron: **What?

**Asuka: **Nevermind. What were you saying?

**Cameron: **Um… I was about to say that you'd also find… um…

Asuka tears one of the pages from the document and begins to fold it into a paper airplane.

**Cameron: **Can I have that back?

**Asuka: **Sure.

**Cameron: **It'd be best if you didn't…

Asuka gently tosses the airplane at Cameron. It skids along the desk and onto the floor.

**Cameron: **…yeah, if you didn't do that.

Asuka readies another airplane.

**Asuka: **Why?

**Cameron: **Well, it is your case history.

**Asuka: **(Shrugs) They can print more.

Asuka flicks the last page towards the far wall. She stretches in her chair like a cat, yawning.

**Cameron: **Anyways, having assessed your current progress, we'd be willing to –

Underneath the table, Asuka rubs Cameron's leg with her foot.

Asuka, meanwhile, stares at him innocently.

**Asuka: **Go on.

**Cameron: **Um… if you'd… uh… Could you stop that?

**Asuka: **Stop what?

She smiles, leaning back in her chair.

**Cameron: **I just wanted to let - …. um…

Asuka's foot has found its way further up Cameron's leg. She smiles.

**Asuka: **Go on…

Fuyutsuki chooses this moment to enter.

**Fuyutsuki****: **Thank you, Lieutenant. That will be all.

**Cameron: **Sir! I was uh, just about to begin… um… with the debriefing and, uh…. whatnot…

**Fuyutsuki****: **I'll take it from here.

**Cameron: **Right… yeah.

Cameron gets up awkwardly, holding the folders to conceal his, uh… excitement. Fuyutsuki regards him tiredly.

**Cameron: **(To Asuka) Uh, pleasure to meet you.

**Asuka: **Bye.

**Fuyutsuki****: **(To Cameron) Just wait outside.

**Cameron: **Sorry.

Cameron exits. Fuyutsuki shuts the door behind him, sighing. He sits down at the table, facing Asuka.

Asuka says nothing. Where Cameron was regarded with a mean sort of playfulness, she exercises restraint in the presence of her former sub-commander. Her face belies little emotion.

After a frigid pause, Fuyutsuki speaks.

**Fuyutsuki****: **Hello again.

No response.

**Fuyutsuki****: **Don't feel like talking? (Pause) How you been?

**Asuka: **I won't dignify that with a response.

Fuyutsuki bites his lip, considering how to approach this.

**Asuka: **(Sighing) What do you want?

**Fuyutsuki****: **Rather to the point. Maybe I just want to visit…

Asuka laughs – a short, derisive outburst.

**Asuka: **(Nodding to the door) Who's the comic relief?

**Fuyutsuki****: **Cameron is with the American military. He's helping me collect a few things.

**Asuka: **Like what?

**Fuyutsuki****: **You.

**Asuka: **Me.

**Fuyutsuki****: **Yeah.

**Asuka: **Why?

**Fuyutsuki****: **Something bad has happened. Something in Japan. Where you… we used to work, in fact.

Asuka keeps a poker face. Her hands, meanwhile, are wringing a sheet of paper underneath the table.

**Asuka: **Go on.

CUT TO:

EXT. TOWN SQUARE.

The camera pans slowly past the aftermath of the battle. Several vehicles are still burning. Smoke drifts from several fresh craters in the ground as medics carry the wounded on stretchers and NATO troops move to secure the area they thought was safe.

**Fuyutsuki**** (v.o.): **…He gave us forty-eight hours. That's only for the garrisons in Japan. With the right calls and enough pressure, we might be able to make it.

**Cameron (v.o.): **It's the only one of his demands that's feasible…

**Rei**** (v.o.): **But you're not even planning on giving him that.

**Cameron (v.o.): **Not if we can help it.

**Fuyutsuki**** (v.o.): **It's pressure from the U.N; they want this dealt with so they can get on with their war. 

**Rei**** (v.o.): **That's why you're here?

**Fuyutsuki**** (v.o.): **Basically, yes.

Fuyutsuki, Cameron, and Rei sit on a pile of sandbags, talking. Cameron nurses a slight gash on his forehead, dabbing at it with a piece of gaze. In the background, a mobile artillery unit rests with its still smoking turret pointed at a row of houses across the street.

Rei takes a drag on the cigarette she holds. She looks up, surveying the scene around them.

**Fuyutsuki****: **You cut your hair…

Rei self-consciously runs her fingers through the short, white hair upon her head.

**Rei****: **One less thing to deal with in the morning. It also fits under a beret easier.

**Fuyutsuki****: **And is that… dyed?

**Rei****: **It's bleached. (Shrugs) I felt like something different. (Pause) How long did it take you to find me?

**Fuyutsuki****: **Two days –  one just getting into the region and another tracing your company's movements. We arrived in town today.

**Rei****: **Which already puts you at the first deadline…

**Fuyutsuki****: **Not until eight pm, Tokyo time. The council assures me everything will be taken care of. Our only concern is collecting you and, uh, the others.

**Rei****: **The others…?

**Fuyutsuki****: **You know who I mean.

**Rei****: **(Pause) Why do you want us?

**Fuyutsuki****: **I think you can guess.

**Rei****: **Who have you found, so far?

**Fuyutsuki****: **He hasn't moved from where we left him five years ago, we've found you, and… well, she's in Nuremburg.

**Rei****: **What did they say?

**Fuyutsuki****: **We haven't been to Nuremburg yet… He said "yes".

**Rei****: **(Pause) And what do you think I'll say?

Fuyutsuki shakes his head, shrugs.

Rei sighs and drops her cigarette on the ground. She watches it burn for a little longer before crushing it underfoot.

--------


End file.
